When IS blackface appropriate? 
It’s not listed among Greg’s theater credits, THE LAST MINSTREL SHOW, which starred Della Reese and was slated for Broadway. But after out of town runs in Delaware and Philadelphia, we never arrived at our slated opening at the Helen Hayes Theater. (I still have that NY Times full page ad announcing our arrival.) So it goes.

Our producers included Colleen Dewhurst and they simply ran out of money, couldn’t get the sets out of Philly. The music and dancing were compelling and the book engaged the use of blackface in a time of social change in America. My character, Jimmy “Tuskegee” White questioned the morality of “corking up” to perform our music, believing it to be demeaning to people of color. In the second act, he confronts Black Sally (Della Reese) with his concerns and then chooses to quit the production.

Greg had been a performer for all of his life…but this was his first dramatic character role. He was a brilliant dancer and singer; his instincts were solid but he’d had little prior training as an actor. (I’ve had the singular pleasure of having tap danced with Gregory Hines and Jeffrey Thompson on a Broadway stage!) 
During the run he approached me one afternoon and asked, “Tucker, every show you play that scene…and every night you break down, often on the same word. How do you do that?” I described to him my training with Meisner and with Stella, spoke of “a preparation” and the actors work of creating a characters history, back story and how that would inform his work, once in performance.

I don’t remember if Greg ever told me who he chose to study with…but I do remember a call late one nite. I was then living in my Tribeca loft. The phone rang and in hushed tones but full of excitement, Greg said, “Tuck! I’m down in the morgue! These guys are showing me how they do what they do!” Jesus, Greg, the morgue? But good on you! Greg was passionate about growing as an artist. And he was now preparing his character for the film WOLFEN. He continued to elevate his game with each performance, his creative instincts always on point.

And speaking of phone calls, months later I returned home one night from a black tie affair…and had this persistent impulse. CALL GREG! Not sure why…but I did; I left him a message. Days later he returned my call. “Tuck, I’m in Napa with Francis Coppola, working on a script. I think there’s something in it for you. I’ll be in touch.” The project was The Cotton Club.

Several weeks later in NY, I took a meeting for the project. I walked into a room with just two men, Francis Coppola and Robert Evans. I approached the conference table. They looked at me and then they looked at each other…and in unison, they said, “Kid Griffin.” That led to five months of creative joy…with Greg, with Diane Lane, with Laurence Fishburne and with just about every goddamn Hollywood star imaginable. They all visited our set every week and especially every weekend. For the parties! We had the most beautiful women in the world attached to this project…and they all wanted to meet them. 
Greg was a dear friend, a singular artist who left us far too soon. Art is short…and life thereafter, far too long…

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This was just released.  Its cool that some of my family and friends will see themselves because they flew out to film me in my home…and my walls are covered with images of the people that I love. They did a lovely job with this interview; so much ground is covered. But there are two points that didn’t survive the edit. My final mission was not with my people but with 6 mercenaries…and I was the only man on that mission that could speak English. So I had to stay alive, to get us extracted.


Last week, there was a meme on Jeff Goldblum and an Ariana song. I liked it, wanted to TBT it, I thought it was a lovely tribute to one of our more interesting actors…and someone present at my own artistic beginnings.

Jeff was still 17 when we met at The Neighborhood Playhouse in NYC in fall of 1970. It was headed by Sanford Meisner, of the Group Theater. He was then one of the holy trinity of Stanislavski: Sandy Meisner, Stella Adler and Lee Strassberg. In the 70’s I got to study with all three.  😉

Jeff was 17, tall, a skilled pianist who could sing and dance and do magic and juggle and…like many of his fellow students, had known what he wanted to do and be for some years already. I was 26, barely home a year from Vietnam, six months out of the hospital. I was there on the G I Bill. My decision to study acting was less than 8 months old…but I was committed. That first year was exciting, revealing, healing. We were both invited back for the second year. Not everyone was. In early winter, within a week, Jeff got offered an Off-Broadway play…and I got offered a role on a soap opera. Somerset. Making $400 a day. Do you know what a 1st Lt made back then? Even with jump pay, combat pay? Maybe $6K annually.

It wasn’t just the money, I had my break! And tho it caused a rift between Sandy and I for many years, I chose the role. There was a hard and fast rule at The Playhouse. You could not act professionally and be a student there. So Jeff and I were forced to leave…and begin our professional careers. In the late 90’s, Sandy was represented by my agent and one Christmas gathering, I got to kneel before him, in his wheelchair and thank him for his guidance and his patience with that troubled veteran and the craft that he had given to me. He seemed to recognize me, even after so many years…but I can’t be sure. I hope so.

This photo was taken in my SoHo loft, summer of ’71. A few years later in ‘76, Jeff sublet my Tribeca loft while he shot Between The Lines and I visited LA. That did not end well, thru no fault of Jeff’s. I behaved badly, requesting my home back, before the agreed upon lease and while he was shooting a film! To this day, I am ashamed of that episode.

Jeff and I have reconnected, in recent years. He was gracious and I am grateful to have reconciled that transgression.